Writing the short film 3th - Part 34. Cuốn sách này chủ yếu giúp tham khảo về phương pháp viết kịch bản, phim ảnh, video và các nhà làm phim video - những người đang phải đối mặt với sự cần thiết của việc viết một kịch bản tường thuật ngắn sao cho hay, mạch lạc, nội dung phim được truyền tải hết đến người xem. | PART IV NEW DIRECTIONS The short film is an apprentice story form in North America. In Europe it has for many years been accepted as an art form. But technological and creative changes particularly over the last 10 years suggest that we are on the cusp of considerable change. The purpose of this section of the book is to pose practical and speculative directions that change may take for the short film. 17 THE OPPORTUNITY FOR RENEWAL Who would have thought that Martin Scorsese and Spike Lee who began their careers as student filmmakers would return to the short film midcareer BMW hired each filmmaker to make a short film about his car that would be shown on its website. The films have been so successful that at least one has been released in select cinemas and the series is available for purchase on DVD. Scorsese had returned earlier to the short form to make the Michael Jackson music video Bad for the album Thriller. Spike Lee on an ongoing basis makes commercials. Thus short films continue to be an important ongoing element of the creative careers of both Martin Scorsese and Spike Lee. They are not alone in this movement between the feature film and the short film. A significant change has been brought about by advertisers whether for products such as cars or music. They have redefined and broadened the kind of work they sponsor under the umbrella of advertising. In the same way the nonlinear film in its forms and its approach to character and structure has stretched what is considered the entertainment or commercial feature film. In short change is occurring in every form from the commercial to the feature film. If we add the technological shift from film to digital video we add yet another layer of change. The question that all this raises for us is this What changes are viable for the short film a form that to date has been most closely aligned with the short story and the poem For the most part filmmakers like most people resist change. Traditional genres and
